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Victorian design is widely viewed as having indulged in a grand excess of ornament. The Victorian era is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Asian and Middle Eastern influences in furniture, fittings, and interior decoration .
The Staffordshire spaniel was the quintessential Victorian bourgeois status-symbol ornament: no mantelpiece was complete without a pair of spaniels standing guard. Staffordshire dogs were also placed on the window sill. Staffordshire dogs are nowadays collectors’ items. [11]
[citation needed] Their ornament takes the forms of the natural world in that climate, decorating the capitals of columns and walls with images of papyrus and palm trees. Assyrian culture produced ornament which shows influence from Egyptian sources and a number of original themes, including figures of plants and animals of the region.
The final chapter, titled 'Leaves and Flowers from Nature' acknowledges the underlying principle that dictates the design of ornament around the world, which is the form found in nature: "in the best periods of art, all ornament was based upon an observation of the principles which regulate the arrangement of form in nature" and that "true art ...
A Victorian Lady HN1277 A Victorian Lady (colorway red shawl, yellow blue dress) 1928 1938 HN1278 HN1279 Kathleen (red dress, dark blue hat and bow) Leslie Harradine 1928 1938 HN1280 Blue Bird Leslie Harradine 1927 1938 HN1281 Scotties HN1282 The Alchemist Leslie Harradine 1927 1938 HN1283 The Cobbler, 2nd version Charles J Noke 1928 1949 HN1284
Many Staffordshire figures made from 1740 to 1900 were produced by small potteries and makers' marks are generally absent. Most Victorian figures (1837 to 1900) were designed to stand on a shelf or mantlepiece and are therefore only modelled and decorated where visible from the front and sides. These are known as 'flatbacks'.
Ornaments are decorations added to an object, building, or structure, in any artistic or architectural style, including: Ceramics; Furniture; Glass; Leather; Printing see also: illuminated manuscripts; Textiles and Weaving; Wallpaper
It is found in most artistic media, but especially as an architectural ornament, whether carved or painted, and painted on ceramics. It is very often a component of the design of a frieze or border. The complex evolution of the palmette was first traced by Alois Riegl in his Stilfragen of 1893.
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